Pra­cow­n­ia Fotografii Inter­me­di­al­nej, Kat­e­dra Sztu­ki Mediów, Akademia Sztuk Pięknych im. Euge­niusza Gep­per­ta we Wrocław­iu

Zaprasza­my do obe­jrzenia fotorelacji z wiz­y­ty prof. Noa Sad­ka z Beza­lel Acad­e­my of Arts and Design w Jero­zolim­ie, w ramach pro­gra­mu Pow­er „łap ski­la” „Vis­it­ing Pro­fes­sors”, mającego na celu wzbo­gace­nie ofer­ty dydak­ty­cznej  naszej Uczel­ni.
Prof. Noa Sad­ka przeprowadz­iła cykl wykładów, warsz­tatów, prezen­tacji i kon­sul­tacji dla stu­den­tów wszys­t­kich wydzi­ałów – dając im szan­sę na zapoz­nanie się z odmi­en­ny­mi postawa­mi artysty­czny­mi, inicju­ją­cy­mi roz­mowy o współczes­nej fotografii.

Wiz­y­ta prof. Noa Sad­ka jest kole­jnym rezul­tatem zaw­iązanej współpra­cy pomiędzy dwoma Uczel­ni­a­mi, w tym: Pra­cown­ią Fotografii Inter­me­di­al­nej oraz dwoma Pra­cow­n­i­a­mi Fotografii prowad­zony­mi przez prof. Noa Sad­ka i prof. Ruve­na Kuper­mana.

W ramach wspól­nych dzi­ałań zre­al­i­zowano kil­ka nieza­leżnych pro­jek­tów (wykłady, sem­i­nar­ia, prezen­tac­je, etc) . Wydarze­niem inicju­ją­cym była wiz­y­ta prof. Andrze­ja P. Bato­ra oraz dr hab. Agaty Szu­by w Beza­lel Acad­e­my of Arts and Design w Jero­zolim­ie.

29.11-03.12.2021 r.

Prof. Noa Sad­ka work­shops / spotka­nia hybry­dowe

Who is Noa?

Noa Sad­ka is an Artist, Pho­tog­ra­ph­er, Writer, Lec­tur­er, and a small Object doer from Tel-Aviv. She is teach­ing Pho­tog­ra­phy at the Beza­lel Acad­e­my for art & design in Jerusalem since 2002. She has pre­sent­ed 14 seclu­sions projects named: “Again I am doing art from Toi­let paper, Grass and Sand – a Liv­ing Mem­o­ry of Pos­si­ble Sub­jec­tiv­i­ty” in her pri­vate home, gal­leries and muse­ums. She is a Writer of 4 books: “Talk­ing Parts” (Eng­lish), “a book” (Eng­lish), “The tear pas­sages are clear” (Hebrew, Pho­tos + text), and “The Pho­to­graph­ic Truth is a Nat­ur­al Truth – Chron­i­cle of a Pho­tog­ra­phy Depart­ment” (Hebrew, Pho­tos and text).

What work­shops are about?

About try­ing to stay hon­est and real in Life and in Art, About try­ing not to leave and for­get Life when doing Art, About try­ing to say ‘some­thing’ from ‘noth­ing’ (coś from nic), About dis­lik­ing ART that seems impor­tant, high, up and beyond, About believ­ing that the Actu­al and the Triv­ial are the best sources to Sym­bol­ic and Metaphor­ic, About being scared that there is so much, so much, so much Tech­nol­o­gy in the Mind, About Mind becomes like App., Souls like Key­boards, and Think­ing as Link­ing, About envy­ing times I could just and sim­ply s i t, About still believ­ing in ART some­how, About miss­ing to receive let­ters from the Amer­i­can Pho­tog­ra­ph­er Robert Frank, About feel­ing I lost my chance to go to Amer­i­ca, About feel­ing old and tired, and About still try­ing des­per­ate­ly to say some­thing about this not easy sad World.

Skills to gain:

– Try­ing to go back to art as a sim­ple intu­itive action/­ex­pres­sion-
– Respect­ing the intu­ition, revive the self, refresh/shake/listen to the sounds of self
– Give a place to Instagram/Facebook/ /Tik Tok/Whatsapp, in the “pho­to­graph­ic /artistic /Academic” activ­i­ty
– And some knowl­edge about His­to­ry of Pho­tog­ra­phy in Israel and I wish in Pales­tine too.

Tues­day 30.11.21
10.00 am – 13.00 pm
Lec­ture: “Again I do Art from Toi­let Paper, Grass and Sand” – Liv­ing Mem­o­ry of Pos­si­ble Sub­jec­tiv­i­ty Lec­ture about Artists whom expe­ri­ence and prac­tice dif­fer­ent kinds of seclu­sions, and About My spe­cif­ic prac­tice of seclu­sions.

Wednes­day 01.12.21
10.00 pm – 12.30 pm
Work­shop: Prac­tice of seclu­sion by the stu­dents and me, cre­at­ing a quick pre­sen­ta­tion (stu­dents and lec­tur­er) by using cheap mate­ri­als and found objects.
Please bring: what­ev­er can be used in pock­ets and in per­son­al bags, what­ev­er can be used in the area of the acad­e­my (sand and leaves) what­ev­er they will bring intu­itive­ly on that spe­cif­ic day (pho­tos, print­ings, papers with texts on them) + glue, inks, pens, scis­sors, papers, tape & toi­let paper, grass and sand.

More Infor­ma­tion about the Work­shop:
Since 1999, I have per­formed 14 seclu­sions projects. Seclu­sion can be a room in my house, a bal­cony, a shel­ter, a gallery, or a lim­it­ed marked area in a muse­um, just a place where I can breathe eas­i­ly and fine, which has air in it.


I go to the muse­um and much of it seems dead, mum­mi­fied and frozen in pure ele­gance, hanged in chron­ic ‘Buy me’ shape, framed and admired
I see a Pho­to too close to Fash­ion
I see an Art too close to Design
In the seclu­sions, I try to expose a spe­cif­ic liv­ing mind
In the seclu­sions I ask for ampli­fi­ca­tion with­out glo­ri­fi­ca­tion, and atten­tion to the ‘thing’ with­out mag­ni­fi­ca­tion
In seclu­sion, I try to expose art as some­thing “alive” even though it’s inevitably pet­ri­fy­ing, Art requires “cal­ci­fi­ca­tion”, it can’t do with­out hard­en­ing
In order to expel ‘Art’ I must intro­duce ‘Life’
I ask art to be with lit­tle “artistry” inside it
I ask art to be not too cold and not too cool
I ask Art to have less dis­crete mys­tery inside it
I insist on being con­crete. I insist on being spe­cif­ic. I insist on being ordi­nary.
It’s ele­men­tary, not poet­ic.

Thurs­day 02.12.21
10.00 am – 14.30 pm
A Lec­ture: ” Life which Cam­era is glu­ing to them” – about Self Pho­tog­ra­phy
Con­sul­ta­tions with stu­dents and port­fo­lio reviews
More Infor­ma­tion about the Lec­ture:
“Even in my sleep I was pos­ing” (Han­na Wilkie)
“When I speak I’m more lis­ten­ing than talk­ing” (Wim Wen­ders)
“While receiv­ing the med­ical lung C T test results, I lie cramped at the end of the bed like a lit­tle ani­mal. I can’t write any poems no more” (Pin­chas Sade)
“The most inti­mate thing is actu­al­ly ‘Face­book’ under the sheets” (Zamir Shatz)
“We are (sort of) ‘pros­ti­tutes’ of the web” (Shan­ny Chen)
How did the ‘self” expe­ri­ence and artic­u­late her. Him­self 30 years ago? How the tech­nol­o­gy is affect­ing the ‘self’? Has the ‘self’ van­ished, drowned in life of con­stant dis­tur­bances, inter­rup­tions, demands, ask­ing to stay always online, receiv­ing and trans­mit­ting, act­ing and react­ing, with peep­ing sounds, links, likes and emo­jis. Has the ‘self’ cru­cial­ly and inevitably changed? Has the dig­i­tal mold led us to estab­lish a dif­fer­ent kind of ‘self”? How did the ‘self’ used to appear in the art world many years ago? How did every­day rou­tine used to appear in the art world?
In the begin­ning of the work­shop i will present var­i­ous pos­si­bil­i­ties of self-pho­tog­ra­phy from far­away India to Pales­tine. From tired self-pho­tog­ra­phy after fast­ing, to a self-pho­tog­ra­phy that needs cos­tumes and a stage in order to be. From Self-pho­tog­ra­phy of Edward Munch lac­ing shoelaces in his Berlin stu­dio in 1902, to ran­dom uploads smart­phone shots of self-pho­tog­ra­phy that were quick­ly tak­en in the pub­lic toi­lets before enter­ing a class. We will see a pictorial/photographic/textual/vocal work by an artist who was count­ing and count­ing and paint­ed only num­bers, tak­ing pic­tures of him­self and record­ing his voice while count­ing num­bers every day for decades, as well as an artist who post­ed posts of num­bers for hours on Face­book reflect ing about pierc­ing pass­ing time, and ask­ing sym­pa­thy and help from his ran­dom anony­mous appearing/disappearing Face­book ‘friends’. We will see the works of an artist who wrote every sin­gle day what exact­ly she ate and what exact­ly she drank, and a pho­to of Walk­er Evans lean­ing for­ward to take a close-up pic­ture of a dump­ster, and hear­ing Yoko Ono record­ing her cough­ing sounds in the 60 th for half an hour in Tokyo. We will also see when the word “diet” was first men­tioned in the art world? And when the verb and “I’m hun­gry” in first per­son did first appeared.